Requisites

What Is This Thing Called Soul? ~ The Cannonball Adderley-Nat Adderley Quintet | By Eddie Carter

I revisited a few of my mom’s cherished albums a few nights ago. The first of them, this morning’s record from the library submitted for your approval, inspired today’s discussion. What Is This Thing Called Soul? (Pablo Live 2308-238) is a concise retrospective of three live performances by The Cannonball Adderley-Nat Adderley Quintet during their 1960 European Tour in Paris, France, Gothenburg, and Stockholm, Sweden. Released in 1984, the personnel for this live album are Nat Adderley on cornet, Cannonball Adderley on alto sax, Vic Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. My copy is the original U.S. Stereo release.

Side One opens with Victor Feldman’s Azule Serape; the quintet sets things in motion with the effortlessly swinging melody. Cannonball is up first with a finger-snapping flight of pure joy. Nat provides the toe-tapping compliment in the following statement. Victor continues grabbing the listener in the third reading before the ensemble reassembles to take the song out, leaving the audience exhilarated. Cannonball takes a moment to announce the second tune, Big P, by Jimmy Heath, which turns the heat up significantly, beginning with Sam’s bass introduction to the group’s spirited theme. Cannonball is off to the races first with an inexhaustible flow of ideas. Nat follows with a solo full of energy ahead of the vigorous reprise and finale.

Cannonball quickly mentions Nat before presenting the next song, the cornetist’s One For Daddy-O, his tribute to the Chicago disc jockey, Daddy O-Daylie. The rhythm section starts with a relaxing introduction to the group’s laid-back theme. Cannonball’s opening solo is pleasant and friendly. Nat is as carefree as a day at the beach in the following reading preceding the out-chorus and ending. The second side opens with what Cannonball describes as a soul piece, The Chant by Victor Feldman. The ensemble starts the song with a happy melody, then steps aside for Cannonball’s funky opening statement. Nat emerges next with an enthusiastic performance; then Victor contributes an impressive interpretation before the quintet restates the theme.

What Is This Thing Called Love? by Cole Porter is a classic jazz standard from the thirties, or as Cannonball describes it in his introduction, What Is This Thing Called Soul? The quintet kicks off the melody vigorously; Cannonball then cooks up a storm in the opening statement so hard that the listener might need to check that their speakers aren’t on fire. Nat comes sailing in next and continues cruising down the road rapidly. Victor states his case in a furiously swinging solo, and then Louis engages in a heated exchange with Cannonball until the theme’s reappearance and climax. The ensemble launches into the melody of Cannonball’s Theme, where the saxophonist thanks the audience and reintroduces the group before the song ends as quickly as it began.

Cannonball and Nat Adderley produced What Is This Thing Called Soul? There’s no mention of who recorded these concerts, but I’m happy to say the album’s sound quality is excellent, allowing the listener to feel like they’re part of the French and Swedish audiences. My mom always loved Cannonball’s rapport with the crowd on his live albums, and his playing always possessed a soulful groove that got your fingers and toes tapping from the first note to the last. If you’re already a fan of both brothers and enjoy live hard-bop, I offer for your consideration What Is This Thing Called Soul? by The Cannonball Adderley-Nat Adderley Quintet on your next record hunt. It’s an overlooked but enjoyable album you won’t regret adding to your library!

~ What Is This Thing Called Love? – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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Requisites

Zoot ~ Zoot Sims Quartet | By Eddie Carter

I’d just completed a long week and wanted to hear something soothing after dinner. I chose Zoot (Argo LP 608), a 1957 album by The Zoot Sims Quartet. John Haley Sims was born in Inglewood, California and began playing the clarinet and drums at an early age. By age thirteen, he started the tenor sax and later joined the big bands of Kenny Baker, Bobby Sherwood, and Benny Goodman. He got his nickname Zoot while playing with Kenny Baker and later gained attention in Woody Herman’s orchestra as one of the four brothers’ sax section. The personnel on this date are Zoot Sims on alto sax (track: B3) and tenor sax (A1 to B2, B4), Johnny Williams on piano, Knobby Totah on bass, and Gus Johnson on drums. My copy is the 1975 Japanese Mono reissue (Cadet MJ-1013M).

The first side opener, 9:20 Special by Earle Warren, begins with the quartet’s delightfully relaxing melody. Zoot is the first to whet the listener’s appetite in the opening reading. Johnny takes the baton for a light-hearted solo next. Knobby follows with a few well-placed bass notes, and Gus shares the finale with Zoot in a short conversation ahead of the theme’s reprise. The Man I Love by George and Ira Gershwin opens with the rhythm section’s tasteful background accompanying Zoot’s tenderly warm tone in the opening chorus and the saxophonist’s first reading. Johnny is equally thoughtful and sensitive in the following interpretation. Zoot adds a few soothing last thoughts, like gentle raindrops hitting the ground, into a mellow ending.

55^th and State, an original by Zoot Sims, moves the beat upward to a medium bounce for the ensemble’s theme. Zoot leads off with an inspired improvisation, then passes the torch to Johnny, who follows with a rousing performance. Gus wraps up the finale, sharing a lively conversation with Zoot, leading to the theme’s return. Blue Room by Richard Rodgers and Lorenz Hart is an old show tune from the twenties. The quartet rises to the occasion, getting into an infectious groove on the melody. Zoot rolls out ideas effortlessly in the opening statement. Johnny extends the joyous mood in the following interpretation, and then Gus engages in a short exchange with Zoot, leading to the ending theme and conclusion.

Side Two begins with Gus’s Blues, an original by Gus Johnson that Johnny introduces, segueing to the foursome’s easygoing melody. Zoot sets a swinging groove on the opening performance. The pianist follows the leader with a bright, bouncy interpretation, and then the saxophonist returns for a closing presentation that disappears into nothingness. The group takes on another old chestnut with their rendition of That Old Feeling by Sammy Fain and Lew Brown. After the quartet establishes the opening ensemble, Zoot launches into one of his best solos on the album. Johnny responds with a compelling reading, and then the saxophonist delivers the last word in a short sermon before the group takes the song out.

Zoot switches to alto sax for Oscar Pettiford’s Bohemia After Dark. It’s a swinger from the word go, and this point is emphasized when the saxophonist takes charge during the foursome’s theme. Zoot continues cooking with confidence on the lead solo. Johnny meets the challenge head-on in a concise presentation, then turns it back over to Zoot, who delivers the knockout punch preceding the brisk reprise and climax. The closing track is Woody ‘n’ You, Dizzy Gillespie’s tribute to Woody Herman that takes off with the quartet’s brisk theme. Zoot opens with an enthusiastic performance. Johnny matches him in agility on the following statement. Knobby has a short stint next, and then Zoot and Gus share the exclamation point before the theme reprise and finale.

Dave Usher produced the album, but it’s unknown who the recording engineer was for the session. The album’s sound quality possesses a solid soundstage despite a minor issue during Knobby’s bass solo on Woody ‘n’ You, where the bass sounds distorted; the remainder of the album is excellent. Zoot Sims’s successful career as a leader and sideman lasted forty years, recording on various labels with many exceptional jazz musicians. He passed away from lung cancer on March 23, 1985, at the age of fifty-nine. If you’re a fan of Cool Jazz, I offer Zoot by The Zoot Sims Quartet for your consideration on your next record-shopping trip. This album of originals and standards is superbly performed and should become a welcome addition to your library!

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Requisites

Kelly Blue ~ Wynton Kelly Trio and Sextet | By Eddie Carter

This morning’s record from the library is Kelly Blue (Riverside Contemporary Series RLP 12-298/RLP 1142) by The Wynton Kelly Trio and Sextet. It hit the stores in 1959 and was his second release as a leader on the label after Piano a year earlier. Wynton Kelly was an accomplished hard-bop pianist and accompanist who collaborated with many elite musicians and vocalists over his career, appearing on some of the most unforgettable jazz albums ever recorded. Here, he’s working with a superb supporting cast: Nat Adderley on cornet, Bobby Jaspar on flute, Benny Golson on tenor sax (tracks: A1, B2), Paul Chambers on bass, and Jimmy Cobb on drums. My copy is the 1982 Original Jazz Classics U.S. Stereo reissue (Riverside OJC-033).

Side One opens with the title tune, Kelly Blue, by Wynton Kelly. Bobby, Paul, and Jimmy introduce this mid-tempo blues with a three-instrument dialogue. The remaining ensemble joins in as the melody unfolds. Wynton begins the opening solo with a relaxing reading. Bobby exhibits some exciting twists and turns next. In the following presentation, Nat raises the temperature slightly with precise articulation. Benny delivers a gorgeous statement with a rich, warm tone as smooth as a sled on new snow before the close. Softly, As In a Morning Sunrise by Sigmund Romberg and Oscar Hammerstein II begins with the trio introducing the melody. Kelly sets the solos in motion with a performance that cooks. Chambers’s bass compliments him with a concise solo that is to the point ahead of the climax.

Green Dolphin Street by Bronislaw Kaper and Ned Washington is one of the prettiest jazz standards in The Great American Songbook. The trio gives this old favorite a lively sprucing up on the opening chorus, highlighting Wynton’s ability to captivate the listener in an impeccable performance until the closing ensemble returns. Side Two starts with Ann Ronell’s classic Willow Weep For Me. Chambers gets the nod and brings the song to life in a bluesy, slow-tempo introduction, and then Kelly and Cobb come in to complete the dreamy theme. The pianist opens with an effortlessly elegant solo. Paul expands on that feeling with reflective beauty next. Wynton has another memorable moment, leading to the finale.

Wynton Kelly’s Keep It Moving is an uptempo-blowing session that swings out of the gate with the front line returning for their second and final appearance. Wynton cuts loose on the opening solo vigorously. Benny takes his turn next and keeps the groove going, and then Nat turns in a captivating reading. Bobby makes the following point with a spirited statement. Paul has the last word with an excellent improvisation preceding the song’s conclusion. The trio wraps the album with Wynton Kelly’s Old Clothes. Kelly is up first after a leisurely melody with a light-hearted opening statement. Chambers makes his presence felt in the following reading. Cobb speaks with the leader in a concise conversation before the melody’s restatement.

Orrin Keepnews produced the session, and Jack Higgins was the recording engineer. The album’s sound quality is excellent, transporting the musicians to your listening room as if they were playing before you. Wynton Kelly was also a talented composer, and the level of good spirits demonstrated by him and his colleagues here is incredibly endearing. Kelly Blue is an album characterized by the pianist’s contagious enthusiasm, with everyone in top form. The music will also keep you hooked from start to finish. On your next record-shopping trip, I invite you to check out Kelly Blue by The Wynton Kelly Trio and Sextet. It’s not just a great album; it’s an excellent introduction to his music and a must-listen for any jazz enthusiast!

~ Piano (Riverside RLP 12-254) – Source: Discogs.com

~ On Green Dolphin Street, Willow Weep For Me – Source: JazzStandards.com

~ Softly, As In a Morning Sunrise – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Requisites

Star Highs ~ Warne Marsh | By Eddie Carter

Warne Marsh enters the spotlight with Star Highs (Criss Cross Jazz 1002), an outstanding 1982 quartet album, his second release on the Dutch label. It was recorded two days after the tenor saxophonist’s performance at the NOS Jazz Festival in Amsterdam. Marsh, a talented musician who studied under pianist Lennie Tristano and later joined his group, is a notable figure in the Cool Jazz school. His collaborations with Lee Konitz and the jazz group Supersax have further solidified his reputation. He is accompanied here by the exceptional rhythm section of Hank Jones on piano, George Mraz on bass, and Mel Lewis on drums. My copy is the original Netherlands Stereo album.

The first side opens with Switchboard Joe, the first of four originals from the pen of Warne Marsh. The saxophonist guides George and Mel through a brief introduction to the quartet’s brisk theme. Marsh sets the tone with his opening statement, followed by a solo from Hank that answers him. Marsh then leads a brief conversation with George before the theme’s reprise. The ensemble then shifts to the title tune, Star Highs, starting with a relaxed groove for the melody. Marsh goes first with a beautifully constructed statement, followed by a concise comment from Jones leading to the closing chorus.

Hank Jones introduces his composition Hank’s Tune, a leisurely paced blues that gets into a happy mood from the quartet’s melody. Warne delivers the opening solo with a simplicity and melodic charm. Hank follows with a thoroughly delightful reading, and then George walks with a sense of fulfillment next. Warne gets the last word before the close. Charlie Parker’s Moose The Mooche gets underway with the quartet’s lively melody. Marsh takes off first with a robust opening statement, followed by Jones’s spirited solo. Mraz takes a short walk with authority. Lewis has the final say in a brief workout ahead of the climax.

Side Two opens to a brisk clip for the ensemble’s quick melody of Victory Ball by Lennie Tristano. Warne soars into the opening solo, with the rhythm section’s driving accompaniment. In the following interpretation, Hank is inspired to greater heights; then, Warne and Hank chase each other through the third reading. Lewis has a moment to shine before the theme returns. Marsh’s Sometimes starts with the trio’s tender introduction and a seductive lead solo by Jones. The saxophonist illustrates elegance and sensitivity in the second statement. Mraz rounds out the readings briefly, moving toward the gentle repeat of the theme.

One For The Band begins with a carefree theme. Warne takes the spotlight first, offering an endearing reading. Hank responds with a dreamy, satisfying statement before the quartet wraps things up. Gerry Teekens produced Star Highs, and Max Bolleman was the recording engineer. The album’s sound quality is superb, with a vibrant soundstage that emerges from your speakers as clearly as Waterford Crystal. Whether you’re a cool jazz fan or enjoy the tenor saxophone, Star Highs by Warne Marsh is a gem you should not miss on your next record-shopping trip. It’s a great introduction to a jazz giant that should appeal to any jazz lover and become a welcome addition to any library!

~ Moose The Mooche – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Requisites

Rifftide ~ Al Cohn | By Eddie Carter

Submitted for your approval this morning is an excellent album by Al Cohn. Rifftide (Timeless Records SJP 259) was recorded during the tenor saxophonist’s 1986 European tour. He’s joined on this date by three Danish musicians: Rein De Graaff on piano, Koos Serierse on bass, and Eric Ineke on drums. My copy is the 1987 Netherlands Stereo release. Side One opens with a popular song by Kurt Weill and Ogden Nash, Speak Low. The trio takes off with a lively introduction leading to the quartet’s theme. Al gets everybody in the mood with a spirited opening statement. Rein swings into action next with an energetic reading. Eric has a vigorous conversation with the saxophonist ahead of the theme’s restatement and fadeout.

Blue Monk by Thelonious Monk is a slow blues that was the pianist’s favorite and one of his most recorded songs, a testament to its enduring appeal. The foursome begins the melody gently, leading to Cohn’s gorgeous interpretation. De Graaff is equally graceful on the following solo, and then Serierse shows his tender side in a pretty presentation preceding the reprise and finale. The tempo for the quartet’s quick melody moves upward to begin the 1945 jazz standard, Hot House by Tadd Dameron. Al takes the lead and crafts an exciting solo. Rein meets the challenge with a fiery passion in the following interpretation. Al reappears for the closing chorus and leads the group to the finish line.

The Thing by Al Cooper starts the second side with the foursome’s medium melody. Cohn cruises comfortably into the opening interpretation. De Graaff follows with a silky smooth statement, and then Serierse provides the exclamation point until the closing chorus. We’ll Be Together Again by Carl T. Fischer, and Frankie Laine is a beautiful ballad from the forties, and the group begins with a gentle melody. The saxophonist opens his first of two solos with an intimate story. Rein caresses each note of the following solo with tranquil tenderness. Al returns for his second reading, complemented by the rhythm section’s hauntingly beautiful support before the song’s summation.

The album ends with the title tune Rifftide by Coleman Hawkins. It’s a pretty tune that the quartet opens at a slow tempo for the melody. Cohn’s opening solo is particularly stirring; De Graaff has the next spot and draws the listener into the second statement. Serierse has a short reflective moment closer, leading to the theme restatement and climax. Al’s career, which lasted nearly five decades, was marked by numerous achievements. He recorded thirty-five albums as a leader, including fourteen years co-leading a quintet with Zoot Sims. He was also a successful arranger for several big bands and worked on Broadway. Al Cohn passed away from liver cancer on February 15, 1988, at age sixty-two.

Wim Wigt produced Rifftide, and Max Bollerman, who owns and still operates Studio 44, was the man behind the dials of the recording. The album’s sound quality is stunning, with a stellar soundstage transporting the quartet to your listening room with crystal-clear fidelity. If you’re a fan of cool jazz and post-bop, I invite you to check out Rifftide by Al Cohn the next time you’re on a record-shopping trip. It’s a terrific album that’s sure to please even the most discriminating jazz fan, and I highly recommend it for a spot in your library!

~ Blue Monk, Speak Low, We’ll Be Together Again – Source: JazzStandards.com

~ Al Cohn – Source: Wikipedia.org

~ © 2024 by Edward Thomas Carter

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